Complex (2017), a series of three paintings, was a part of the group show The Draughtsman’s Contract (2018). The exhibition constituted a summary of the successive residencies in Arsenal Gallery (Białystok, PL), lasting from July to September 2017, of: Karolina Bielawska, Julie Chovin and Rafał Żarski. And although the Arsenal Gallery has been situated in the Palace’s vicinity for over 50 years, Draughtman’s Contract was the first exhibition that has taken this special location of the institution as its subject.

The Draughtsman’s Contract

22.06.2018 – 23.08.2018

artists: Karolina Bielawska, Julie Chovin, Rafał Żarski

curators: Agata Chinowska, Sylwia Narewska

“For Karolina Bielawska working with the history and context of a place is typical. She often creates site-specific works, building her own narrative while relating to the very essence of painting at the same time. The artist’s residency at Arsenal Gallery coincided with conservation works in the Aula Magna of Branicki Palace. This situation became a starting point for Bielawksa. She created a painting installation titled Complex, which consists of paintings painted with exactly the same colors and paints (silicate) used during restoration works in the Aula. The titular Complex refers to the space of Branicki Palace: its interior decoration and architecture, as well as to the entire park and palace complex. On the other hand, it ties into the Palace’s fate and turning points in its history. Bielawska draws attention to the problem of destruction of cultural goods and the architectural situation of the palace after the political and social changes of the 20th century. And in the end, the artist’s creation is, above all, a work of pure painting, confronting the structure of painting and hence the organization of all elements making of this discipline of visual art – starting from the material and technical aspects, through the meaning and content of the painting, and ending with the idea of imaging thoughts and emotions itself.”

Text excerpt by Agata Chinowska, 2017